and Cambridge, was a fellow of the Society of Antiquaries, an honorary fellow of University College, London, and of the Royal Institute of British Architects, and a member of the Company of Painter-Stainers of the City of London. In 1846 he was nominated by Gladstone to succeed Sir Augustus Wall Callcott on the council of the government schools of design, a post which he held for three years; and ten years later he was appointed a member of the royal commission to determine the site of the National Gallery, when he was alone in voting for its removal from Trafalgar Square to South Kensington. In 1871, and again in 1874, Gladstone pressed upon him to accept the directorship of the National Gallery, but the prime minister was unsuccessful. In 1870 he bought Porch House, a 15th-century timber-framed house in the Wiltshire village of Potterne, near Devizes, and took advice from Ewan Christian on its restoration. The work included the addition of glass mosaic floors and encaustic floor tiles. George Richmond died at his house, 20 York Street, Portman Square, where he had lived and worked for fifty-four years, on 19 March 1896, retaining almost to the end a clear and vigorous memory. He is buried in a family grave on the eastern side of Highgate Cemetery (plot no.23902) and is commemorated by a tablet designed by his sons to be placed in the crypt of St. Paul's Cathedral, close to the graves of Wren and of Leighton. He left ten children and forty grandchildren. His surviving sons included Canon Richmond of Carlisle and Sir William Blake Richmond, K.C.B., R.A. Of his daughters, three married respectively F. W. Farrer, Archdeacon Buchanan, canon of Salisbury, and Justice Kennedy. Works Richmond's portraits of eminent persons in England were steadily produced for forty years, initially in crayon and watercolour. After 1846 he began to paint in oil, and left a large number of excellent portraits in this medium. Many of his portraits were reproduced as engravings. The Victorian Exhibition held at the New Gallery in the winter of 1891–2 contained eight of his portraits in oil, forty in crayon, and two (Mrs. Fry and Sir Thomas Fowell Buxton, both dated 1845) in watercolour. The oil pictures included Earl Granville, Archbishop Longley (1863), Bishops Selwyn and Wilberforce, Canon Liddon, and Sir George Gilbert Scott, R.A. (1877). Among the crayon portraits were Cardinal Newman (1844), John