Samuel Carter Hall (9 May 1800 – 11 March 1889) was an Irish-born Victorian journalist who is best known for his editorship of The Art Journal and for his much-satirised personality. Early years Hall was born at the Geneva Barracks in Waterford, Ireland. His London-born father was Robert Hall (1753 – 10 January 1836), an army officer and, while in Ireland, engaged in working copper mines which ruined him. His mother supported the family of 12 children with her own business in Cork. He married Ann Kent (b. 1765, Ottery St. Mary, Devon) at Topsham, 6 April 1790. Hall was the fourth son. In 1821, he left Ireland and went to London. He entered law studies at the Inner Temple in 1824, but never practised, though he was finally called to the bar in 1841. Instead, he became a reporter and editor, including: Reporter, Parliamentary (1823) Editor, 'Literary Observer' Art reviews/criticism, the British Press (same period) Reporter, Representative (1826) Reporter, New Times (1826) Founder/editor, The Amulet, a Christian and Literary Remembrancer, (annually, 1826–1837) Editor, Spirit and Manners of the Age (1826) Editor, Morning Journal (1829–30) Sub-editor/Editor New Monthly Magazine (1830–1836)'s Juvenile Library Author, "History of France", Colburn Writer, Watchman, Wesleyan Methodist newspaper, (1835) Start-up, The Town, conservative whig journal, (1836) Sub-editor, John Bull (1837) General manager, Britannia (1839) Art magazine years In 1839, Hodgson & Graves, print publishers, employed Hall to edit their new publication, Art Union Monthly Journal. Not long after, Hall purchased a chief share of the periodical. By 1843, he started giving an expensive, unprofitable novelty, sculpture engravings. In 1848, with Hall still unable to turn a profit, the London publisher George Virtue purchased into the Art Union Monthly Journal, retaining Hall as editor. Virtue renamed the periodical The Art Journal in 1849. In 1851, Hall engraved 150 pictures from the private collection of the Queen and Prince Albert, and the engravings were featured in the journal's Great Exhibition edition. Though this edition was quite popular, the journal remained unprofitable, forcing Hall to sell his share of The Art Journal to Virtue, but staying on as editor. As editor, Hall exposed the profits that custom-houses were earning by importing Old Masters, and showed how paintings are manufactured in England. While The Art Journal became notable for its honest portrayal of fine arts, the consequence of Hall's actions was the almost unsaleability of old masters such as a