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Master of Magdalene College, 1995-2002

Educated at Christ Church Oxford. University of Cambridge, John Henry Plummer Professor of Cell Biology, 1983-2001; Fellow of Churchill College until taking up the Mastership; Honorary Fellow, 2002. Chairman of The Wellcome Trust & Cancer Research UK Institute of Cancer & Developmental Biology, 1991, which was renamed The Wellcome Trust/Cancer Research UK Gurdon Institute in 2003 in recognition of his inaugural directorship. Japanese Academy’s Emperor Hirohito Prize for Biology, 1987; Israel’s Wolf Prize for Medicine, 1989; Copley Medal, 2003; Hon ScD 2007; Nobel Prize for Medicine 2012.

Further Reading:
Article 'Appointment to the Mastership' by Peter Grubb, College Magazine vol. 38 (1993-94) pp. 8-9
Article, 'Hail and Farewell' by Eamon Duffy, College Magazine, vol. 46 (2001-02) pp. 9-11

Alasdair Rennie is an award winning artist who paints portraits, landscapes and still-life, he is an accomplished figurative sculptor and muralist.

Master of Magdalene College, 1967-1978

Educated at Trinity College, and Fellow of Trinity, 1931-1933, 1946-1950 (University Lecturer in Classics, 1947). Published an extremely successful translation of Plato’s Symposium (1951). Head Master of Westminster School (1950-1957) and of Rugby (1957-1966); chairman of the Headmasters’ Conference. Honorary Fellow , 1978.

‘Not so hearty as Willink, not so pedagogic as Ramsay, not so melancholy as Benson, and not so teetotal as Donaldson’ – Lord Ramsey, on Hamilton’s retirement (College Magazine 22 (1977-78) p 2). What most people remember is his baleful humour.

Further reading:
College Magazine vol. 22 (1977-78) pp. 2-4 (D. W. Babbage)
Obituary College Magazine vol. 32 (1987-88) pp. 11-16 (R. Hyam)
College Magazine vol. 36 (1991-92) pp. 59-61 (review by R. Luckett)

Painter notable for perceptive portraits and subtle landscapes, stage designer, exhibition organiser and writer, brother of the artist John Hill. He was born Arthur Derek Hill in Bassett, Hampshire. Was educated at Marlborough College, then studied stage design in Munich, Paris and Vienna, 1933–5, and began life drawing. Although he designed sets and costumes for the ballet The Lord of Burleigh at Sadler’s Wells in 1937, in Paris a year later he chose to paint rather than pursue designing. During World War II he worked on a farm in England, painting spare-time. Contributed articles to Penguin New Writing, New Statesman and other magazines. The 1940s and 1950s were busy years for Hill, for he had a first solo show at Nicholson Gallery, 1943; designed for Il Trovatore at Covent Garden, 1947; painted in Ireland and Italy, where he was encouraged by the critic Bernard Berenson; organised the Degas exhibition at Edinburgh Festival, 1952; had a series of shows at Leicester Galleries; and was art director of the British School in Rome, 1953–4, and 1957–8.

Novelist and poet, the doyen of English letters by the time of his election as an Honorary Fellow in 1913, the first in a notable succession of leading figures in literature and the arts with no previous connection with the College, and into which it was recorded that he entered ‘cordially and sympathetically’ (College Magazine, No. 15, 1914, p. 245). Benson had long been acquainted with him.

Further Reading:
College Magazine vol. III No.14 (December 1913) pp. 204-205
Obituary, College Magazine vol. VIII 57 (March 1928) pp. 146-148

Matriculated 1764; 3rd Wrangler, 1768 and Chancellor’s Medalist. Fellow and Tutor, 1782, but later apparently a non-resident Fellow, who was primarily an author. Apart from publishing studies on civil liberties, gaming and duelling, suicide, happiness (a reply to Tom Paine’s Rights of Man), Egyptian mummification, and the promotion of Christianity in India, he also wrote a tragedy, The Captive Monarch in 1794, and a novel, Edington in 1796).
His younger brother Samuel was President of the College, 1778-1786, but is not the subject of a College portrait.

Merchant, musician, and close friend of Samuel Pepys. Spent most of his working life in Italy and Lisbon, but had at one time a minor British government post at the Prize Commission.

An English Baroque-era portrait painter, principally known for his portrait of Samuel Pepys. Hayls was a contemporary and rival of Sir Peter Lely and Samuel Cooper. He was mentioned in the diary of Samuel Pepys where he is referred to as "Hales". An extract from 15 February 1665-6 reads, "Mr Hales began my wife's portrait in the posture we saw one of my Lady Peters, like a St. Katherine". Hayls also painted portraits of Colonel John Russell (third son of Francis Russell, 4th Earl of Bedford), Lady Diana Russell, and the poet Thomas Flatman. He was known as a good copyist of the works of Van Dyck. He lived in Southampton Street, Bloomsbury, London, for some years, but then moved to a house in Long Acre, where he died suddenly in 1679.

Born in Moscow, but grew up in Poland; educated at the Sorbonne (DSc). In 1915 he joined Professor G. H. F. Nuttall in Cambridge as an assistant. Admitted as a Research Student, 1916; Bye-Fellow, 1916; Fellow, 1931; Honorary Fellow, 1957. Professor of Cellular Biology and Director of the Molteno Institute for Parasitology, 1931-1952. His classic publication in 1925 was on the pigment cytochrome, which he discovered and named. FRS, 1928; Royal Medal, 1939; Copley Medal, 1951; Associate Foreign Member of the Académie des Sciences de l’Institut de France, 1955. He was a world-class scientist who was perhaps unlucky not to become a Nobel Laureate.

Further Reading:
Article 'Professor Keilin by G. M. Hughes, College Magazine vol. 83 (1952) pp. 7-8
Obituary by F. McD C. Turner, College Magazine vol. 7 (1962-63) pp. 13-15
Article 'Magdalene and the Molteno Institute', College Magazine*, vol. 31 (1986-87) pp. 20-22

British portrait painter and etcher. Freeth was born in Birmingham and attended the Birmingham College of Art and, between 1936 and 1939, studied at the British School in Rome. From 1936 onwards, Freeth exhibited regularly at the Royal Academy, the Royal Watercolour Society and elsewhere.

During World War Two, Freeth served in the Middle East as an official war artist to the Royal Air Force. The War Artists' Advisory Committee commissioned two lithographs from Freeth. During the War, he also worked on the Recording Britain project.

Freeth was one of the first artists to make the people of the Black Country the main subject of his work, as other artists placed greater emphasis on representing the industrial landscape. Freeth won the prestigious Prix de Rome in engraving in 1936 and 1937, for his series of Black Country images. After the war, the National Coal Board commissioned Freeth to produce works about mine-workers due to the success of his representation of the people of the Black Country.

Freeth was elected to the Royal Academy in 1965 and taught at St Martin's School of Art and the Central School of Art in London.

An English painter of portraits and historical scenes. Briggs was born at Walworth, County Durham, the son of a post office official. His cousin was Amelia Opie (née Alderson), the wife of artist John Opie (whose portrait was later painted by Briggs). While still at school at Epping he sent two engravings to the Gentleman's Magazine and in 1811 entered as a student at the Royal Academy, London, where he began to exhibit in 1814. From that time onwards until his death he was a constant exhibitor at the annual exhibitions of the Academy, as well as the British Institution, his paintings being for the most part historical in subject. After his election as a Royal Academician (RA) in 1832 he devoted his attention almost exclusively to portraiture. Briggs died, of tuberculosis in London on 18 January 1844, aged 50/51.

cartographer and painter. Brother of engraver Johann Gottlieb Facius. The Facius brothers were born in Regensburg (Germany) and received engraving training in Brussels. By 1776, their works were already well known and they moved to London at the invitation of John Boydell, with whom they worked for many years.

Educated at Jesus College, of which he was a Fellow, 1920-1922, before appointment as Director of Studies in Natural Sciences at Magdalene in 1922. In 1931 he left to become Professor of Geology at University College, London, returning to Cambridge and Magdalene as Woodwardian Professor of Geology, 1943-1955. Meanwhile, his knowledge of coastline and water supply were invaluable in planning the Normandy landings during the Second World War.

Scottish painter and printmaker, notable for illustrating the works of Bunyan, Coleridge and Kipling. Strang was born at Dumbarton, the son of Peter Strang, a builder, and was educated at the Dumbarton Academy. For fifteen months after leaving school he worked in the counting-house of a firm of shipbuilders, then in 1875, when he was sixteen, went to London. There he studied art under Alphonse Legros at the Slade School for six years. Strang had great success as an etcher and became assistant master in the etching class. He was one of the founding members of the Royal Society of Painter-Etchers, and his work was part of its first exhibition in 1881. Some of his early plates were published in The Portfolio and other art magazines.

Of Milanese Jewish descent, Limentani left fascist Italy in July 1939. He joined the Italian Dept of the University in 1945, and became the Professor of Italian, 1964-1982; he was particularly well-known for his work on Dante. He was a professorial Fellow of the College from 1964, and an Honorary Fellow in 1988. He was awarded the gold medal of the Italian Government for services to scholarship (1982). He gave a wonderful rendition of the Crowland grace before dinner.

Obituary: College Magazine, No. 34 (1989-90)

Educated at Trinity College. Fellow of Magdalene, 1818; President and senior Fellow, 1829-1836; Tutor, 1821-1826, 1831-1832; Senior Proctor, 1833-1834. University Librarian, 1822; elected sole Principal Librarian – Protobibliothecarius – in succession to Thomas Kerrich in 1828, a post he held until 1845.
In 1836 there was a dispute with the College about his continued combination of the Presidency with the University Librarianship (which his predecessor Kerrich had not done), and he vacated his Fellowship to take up the College living of Anderby. ‘Lodge had shown more energy, more understanding and more willingness to work at the Librarianship than almost any of his predecessors for nearly two centuries’ (McKitterick, pp. 506-507).

Arms in Hall glass, W2.

A painter who was one of the five sons of Thomas Forbes Walmisley (1783–1866), a London-born organist, composer and ‘Professor of Music’, who also had at least two daughters.
Walmisley trained at the Royal Academy schools and according to Redgrave’s dictionary was also a pupil of H. P. Briggs. Redgrave also says that he ‘became paralysed in his legs early in life’ and that his works ‘were very mannered from want of power to study’. He nonetheless exhibited 21 at the Academy between 1838 and 1868, 18 at the British Institution between 1841 and its closure in 1867 and 16/17 at the Society of British Artists (SBA) during 1840–1872. The majority were landscapes and subject paintings, the latter often derived from literature and drama but the first five at the Academy (to 1841) were portraits.

Walmisley appears not to have married, and lived with his father and his two unmarried sisters. From some point before 1840 this was at 18 Cowley Street, Westminster, but probably from 1843 until 1846 he was in Rome. According to Graves’s Royal Academy listings, a Roman view he sent home in 1843/1844 was noted as ‘painted on the spot’ when submitted for the 1844 Academy show by his father. In the 1844 catalogue itself, his Rome address is given as Café Graeco and, in 1845, Via di Capo le Cose. From then on, Italian subjects from Venice to the Naples area predominate in his exhibition record, including after his return to London in 1847.

In about 1864 he and his father moved to 19 Earl’s Court Gardens, Brompton. His father died there aged 84 in 1866, leaving an estate of under £1,500, Frederick being executor. He died at St John’s Wood on 25th December 1875, aged 60.

Two of Walmisley’s brothers were organists. The eldest, Thomas Attwood Walmisley (1814–1856), became Professor of Music at Cambridge University in 1836. The other was Henry (1830–1857), an organist in London. Frederick’s portraits of them both were lent by their civil engineer brother, Arthur Thomas Walmisley (1847–1923), to the Victorian Era Exhibition of 1897 at Earl’s Court. The fifth brother, Horatio (1827–1905), became a clergyman. Frederick is also recorded in published RIBA papers for 1868–1869 to have done a ‘remarkably good portrait in oil’ of the architect Arthur Ashpitel, ‘representing him sitting and sketching’, of unknown date. (Ashpitel also studied in Rome from 1853.)

While Walmisley was only baptised Frederick (on 26th May 1815 at St Mary, Newington, Surrey) some contemporary and later printed references call him ‘F. W.’ or ‘Frederick W.’ which is seemingly an error.

An Irish mezzotint engraver. Egan was born in County Roscommon. He was employed by Samuel William Reynolds, the mezzotint engraver, at first as little more than an errand-boy, but later in laying his mezzotint grounds. Egan set up a business of ground-laying for engravers, while he studied in order to become an engraver himself. Becoming consumptive, he had eight years' struggle with declining health; and died at Pentonville, 2 October 1842, aged 43. Egan, who married young, left a family, for whom a subscription was raised by his friends. His last plate was 'English Hospitality in the Olden Time,' after George Cattermole. Among his other engravings were 'Love's Reverie,' after John Rogers Herbert, 'Abbot Boniface,' after Gilbert Stuart Newton, 'The Morning after the Wreck,' after Charles Bentley, 'The Study,' after E. Stone, 'The Mourner,' after J. M. Moore, 'The Young Wife,' 'The Citation of Wycliffe,' 'The Tribunal of the Inquisition,' and other pictures after S. J. E. Jones, and a portrait of John Lodge, librarian at Cambridge, after Walmisley.

French-born portrait artist who worked in England, Scotland and the United States in the 19th century. He specialised in silhouette portraits. Born in Dunkerque, he left France in 1814, and established himself in London, where he began his career making portraits from hair. In 1825, he began work as a silhouette portraitist, taking full-length likenesses in profile by cutting out black paper with scissors. Edouart spent fifteen years touring England and in 1829 arrived in Edinburgh. He remained there for three years, during which time he produced some 5,000 likenesses. Edouart travelled in the United States in about 1839–49, visiting New York, Boston, and other locales. He later returned to France, where he worked on smaller silhouettes. They included one of the most notable writer of this period, Victor Hugo

Matriculated in 1834. Made a Fellow in 1841. Called to the Irish Bar in 1844; QC 1865; Lord Chief Justice of Ireland, 1877-1887, and Lord Justice of Appeal (1878); he narrowly avoided having to try his fellow Old Member, C. S. Parnell, in the case of conspiracy against the payment of rent in 1880-1881 but having dismissed a motion for the postponement of the trial, he was accused of partiality, and did not sit. ‘A learned, painstaking and impartial judge’ (DNB).

Arms in Hall glass, E1.

Admitted to Magdalene College in 1862, aged 25 and already ordained, as a Fellow-Commoner. Previously trained in industrial design and lithography. Gained a Class II in Natural Sciences Tripos, 1865. Rector of Shelton, Staffs, 1864-1871; protégé of Bishop Selwyn, and thus first Bishop of Dunedin, 1871-1919, an exceptionally long episcopate; Primate of New Zealand, 1904-1919; Sub-Prelate of the Order of the Hospital of St John of Jerusalem, 1906.
Made an Honorary Fellow in 1906, proposed by A. C. Benson (Ref: Archive Benson Diary, 14 May 1906, vol 81, f 36v).
In his diocese he increased the number of churches from eight to nearly seventy, and founded a theological college, two schools and two orphanages, as well as the cathedral. Nevill was of ‘dominating personality’, fiercely defensive of the autonomy of colonial churches, notably at the Lambeth Conference of 1878.

Arms in Hall glass, W3.

Further Reading
College Magazine vol. 38 (1921) pp. 20-21

Master of Magdalene College, 1813 - 1853

Third son of 2nd Baron Braybrooke, he assumed the name of Grenville in recognition of a legacy from a maternal uncle. Educated at Trinity College.

He was appointed Master by his father at the controversial age of 24. This made him ineligible on two accounts as the Master should be 30 years of age 'or thereabouts' and in Holy Orders. The first was ignored and the second was resolved when he was hastily ordained deacon and priest on the same day in Trinity College Chapel.

As a Master of a College he valued good breeding and gentlemanly behaviour and was addicted to genealogy and noble pedigrees. Academic activity was low on his list of priorities.

To provide more undergraduate rooms he moved out of First Court and into a separate new Lodge in 1835.
He was also responsible for starting a project to transcribe and publish Samuel Pepys' diary which had lain unread and virtually unknown in the library [see Cunich, P., Hoyle, D., Duffy, E., Hyam, R., A History of Magdalene College Cambridge, 1428-1988 pp. 195-199 and Latham, R. C. Pepys and his Editors (Occasional Paper no 6, 1992, p. 2) for further details]

Vice-Chancellor, 1818-1819
Dean of Windsor, 1846

Arms in Hall glass, E3. Memorial brass in Chapel.

An English painter specialising in portraits. He was a Royal Academician for almost fifty years, and painted many of the most notable figures of his time.

Matriculated at Magdalene College in 1848. Held a travelling Fellowship from 1854. Made a Foundation Fellow in 1877.
Fellow of the Royal Society, 1870; Royal Medal 1900.
An ornithologist who was the first Professor of Zoology and Comparative Anatomy, 1866-1907.
Lived in Old Lodge as a conservative eccentric; however, he was also a world leading pioneer in environmental conservation. British Ornithologists’ Union founded in 1858 from Old Lodge. Sponsor of the first sea-bird protection act in 1868.

Lord Thomas Audley’s son-in-law and successor, in virtue of his second marriage in 1558 to Margaret Audley, Thomas Audley’s daughter. A courtier and diplomat, who became probably the richest man in England, and who (fatally) planned to marry (as his fourth wife) Mary Queen of Scots. He was a benefactor to the College, though not to the extent promised (1564) in terms of funds and endowment, owing to imprisonment in 1568 and subsequent execution for treason. He made no appointment to the Mastership.

A Netherlandish portrait painter, much in demand by the courts of Europe. He has also been referred to as Antoon, Anthonius, Anthonis or Mor van Dashorst, and as Antonio Moro, António Mouro, Anthony More, etc., but signed most of his portraits as Anthonis Mor

George Nuttall was born in San Francisco, California, and was the second son of Robert Kennedy Nuttall MD, from Tittour, co. Wicklow, and his wife, Magdalena. In 1865 the family returned to Europe, and the children were educated in England, France, Germany, and Switzerland and as a result Nuttall could speak several languages. He returned to America in 1878 and entered the University of California, where he proceeded MD in 1884. Between 1886 and 1891 he studied botany and zoology in Germany. He spent further time studying in America and Germany before giving a course of lectures on bacteriology in Cambridge in 1899.

In 1901 was appointed University Lecturer in bacteriology and preventive medicine and in the same year founded the Journal of Hygiene which he edited up to the time of his death. In 1908 he founded Parasitology, which he edited until 1933.

In 1906 he was elected the first Quick Professor of Biology at Cambridge (1906 - 1931). In 1907 he became a professorial Fellow at Magdalene in succession to Alfred Newton.

He was the founder of the Molteno Institute for Research in Parasitology (later known as the Molteno Institute of Biology and Parasitology), which was formally opened in 1921.

Nuttall resigned the Quick Professorship in 1931 and became Emeritus Professor of Biology.

In 1895 he had married Paula and they had two sons and a daughter. His hobby was heraldry. He died suddenly on 16 December 1937.

Arms in Hall glass, W2

Further Reading: College Magazine, Vol. X, No. 9, December 1938 'George Henry Falkiner Nuttall' by A. S. Ramsey and David Keilin

Arms in Hall glass, W2.

Anglo-Hungarian painter known particularly for his portraits of royal and aristocratic personages. In 1900, he married Lucy Guinness of Stillorgan, County Dublin, and he became a British subject in 1914