James Foggo (1789–1860) was an English historical painter. Early life Foggo was born in London on 11 June 1789. His father, a native of Fife, was a watchmaker of good repute and an advanced republican. He strenuously advocated negro emancipation in repeated visits to North and South America. Towards the end of 1799 the free assertion of these principles led him to fear persecution, and he took refuge in France with his wife and children. Unfortunately the Foggos arrived just at the commencement of Napoleon's military despotism, and were unable to quit Paris and return to their native land as they desired. James and his younger brother George Foggo, wishing to become painters, were placed in the academy at Paris under the instruction of Jean Baptiste Regnault. Career The brothers became desirous of emulating the work done, under the encouragement of their country, by the French historical painters. In 1815, on Napoleon's return from Elba, Foggo quit France for England, where he found all the friends of his family dead or dispersed. He set up a studio in Frith Street, Soho. In 1816 he exhibited Jane Shore at the Royal Academy, and in 1818 Hagar and Ishmael at the British Institution, contributing also to the latter a study of An Assassin's Head. The picture of 'Hagar' was well hung, and attracted attention, but did not find a purchaser. Foggo was obliged to support himself by teaching, and occasionally painting portraits. In 1819 his father had to go on a journey to Brazil, and his mother, with his brother George, joined him in London. From this time for forty years the two brothers lived and worked together, painting on the same canvas, and devoting themselves to historical compositions. They spent about three years in painting a very large picture, representing The Christian Inhabitants of Parga preparing to emigrate. This, when completed, was too large for exhibition in the ordinary galleries, and the Foggos were compelled to exhibit it separately at their own expense. They were forced to eke out their means by all kinds of artistic drudgery. By sketching in accessories to architectural and sculptural designs they became acquainted with Francis Goodwin, the architect, who advised them to paint pictures suitable for altar-pieces in churches. They subsequently produced The Pool of Bethesda for the Bordesley Chapel at Birmingham; Christ blessing little Children for St. Leonard's Church, Bilston; Christ confounding the Rulers