Most information presented here is collated from the book by Thomas Balston
1789 [0] Born (and baptised) 19th July 1789 to Fenwick, a sometime tanner, and Isabella, from a land-owning family and possibly a descendant of the Protestant martyr Nicholas Ridley, at East Land Ends Cottage, Haydon Bridge Northumberland. Youngest of 13 children, only five surviving (John, Ann, Jonathan, Richard and William). 1790 [1] 1791 [2] 1792 [3] 1793 [4] 1794 [5] Probably commences studies at the 'free' Haydon Bridge Grammar School (founded 1685 by deed of Rev. John Shaftoe). His penchant for drawing and sketching soon becomes evident although he is not a great scholar by his own later admission. 1795 [6] John's elder brother William joins the 'Northumberland Militia' for the bounty to pay father Fenwick's debts. 1796 [7] 1797 [8] 1798 [9] 1799 [10] 1800 [11] 1801 [12] 1802 [13] 1803 [14] John leaves the Grammar School and the Martin family move 30 miles east to White Cross, Newcastle upon Tyne. With further funding from the Rev. Shaftoe's trust, apprenticed to Leonard Wilson, a coach builder, to learn herald painting. He is soon bored and wanting an excuse to leave. 1804 [15] Wilson does not pay John's annual salary increment so he quits. In court for breaking his indenture, the forthright spoken JM wins his case and is released from the bond. Father Fenwick arranges for his artistically talented son to become a pupil of the Newcastle resident Piedmontese Master Boniface Musso. Studies his collection of engravings after Salvatore Rosa, Claude and other Romantics. 1805 [16] John draws plans for brother William's scheme for a fan ventilation system for mines. Such diversions in the future are to jeopardise his financial and artistic standing. He sees Musso's large collection of engravings after Claude, Salvatore Rosa and della Bella which establish another major influence in print making. His, now close, relationship with the Roman Catholic Musso family becomes a worry to his Protestant parents. 1806 [17] Moves in September to London to work in the china painting industry with Charles Muss accompanied by his father Boniface. This arrangement fails so John sells sketches of his native Northumbrian landscape drawn from memory. One buyer is Rudolph Ackermann who knocks down Martin's price so he refuses to sell him further works. Ackermann later becomes a publisher of his work. John also financially supports brother Richard who is also in London at this time with the Grenadier Guards. 1807 [18] Continues to study with the Musses. Charles Muss starts his own glass and china business and JM commences work here. 1808 [19] Following some problems with other of the Musses family, there is a move to Adam Street West, Cumberland Place. Brother William is also in London to demonstrate his invention of a 'perpetual motion' machine. 1809 [20] China painting becomes unfashionable and Charles Muss' business is bankrupted. They join Williams Collins' glass company. JM marries a friend of the Musses, Susan Garrett and they move to lodgings behind the Collins' shop in the Strand. John is now working prolifically into the early hours of the morning. 1810 [21] Pupils are taken and a first oil painting 'Clytie' submitted to the Royal Academy (Somerset House) is rejected through a 'lack of space'. 1811 [22] First acceptance of a work at the R.A. 'Landscape Composition'. A great success on exhibition. His glass-painting at Collins' was so popular it made his co-workers envious and jealous. They object to his non-apprenticed status. JM leaves and relocates to 77 Marylebone High Street to become a full time 'painter in oils'. Association with the Musses, to whom he was always indebted, ends. The Martin's now have two children, Fenwick and Isabella. 1812 [23] A first subject painting 'Sadak in Search of the Waters of Oblivion' is hung in an ante-room at the R.A. It is well reviewed but not sold at its price of 100 guineas. The characteristic 'Martinesque' style now evident. Rivalry with the work of his contemporary J M W Turner commences. 'Sadak...' is bought by a grateful William Manning MP for 50 guineas in memory of his son who had been enthralled by the work. 1813 [24] The Deaths occur of his Grandmother, father, mother and son Fenwick. A second son John is born. 'Adam's First Sight of Eve' is hung in the Great Room of the R.A. and bought by a Mr. Spong for 75 guineas. The 'Expulsion of Adam and Eve' fails to sell at the newly founded 'British Institution'. Brother William presents his 'Longitude Glass' to the 'Board of Longitude'. He also invents a 'Dial and Hand' weighing scales and JM assists with plans and improvements for manufacture. John gives William 'Cadmus'. The Bible and Milton become his inspiration. 1814 [25] Second son John dies but a forth child, Alfred, is born. His Serene Highness Prince Leopold of Saxe-Coburg joins the Martins at 77 Marylebone High Street. He becomes a great friend and future patron. Introduced to the American artist Charles Robert Leslie R.A. (1793 - 1859) who lends him money when he is struggling. This friendship is to become chequered but, through Leslie, JM meets other Americans including Washington Allston and Gilbert Stuart Newton. He also becomes acquainted with other English artists Luke Clennell (another ex-Tynesider) William Etty R.A. and the Landseers, Thomas, Charles and Edwin. 'Salmacis and Hermaphroditus' is sent to the B.I. and a 'Clytie', one of his favourite works, to the R.A. This follows a refusal of a work of the same name in 1810. During a period when the Academicians retouch their paintings, varnish is 'accidentally' spilt on 'Clytie' spoiling it. He is upset and 'Clytie' remains unsold. 1815 [26] The financial situation remains poor. 'Clytie' is re-exhibited at the B.I. The only painting produced appears to be 'A Distant View of London'. One prestigious pupil was possibly the Princess Charlotte. 1816 [27] Zenobia, 5th child and 2nd daughter born. Works display, contrary to the accepted standards, large crowds with vast architecture and landscapes blasted by electrical storms. 'Joshua Commanding the Sun to Stand Still upon Gibeon' is placed in an anteroom in the R.A. and is unsold. Five watercolours are at the B.I. The earliest recorded etching appears. Prince Leopold marries Princess Charlotte becoming son-in-law of the Prince Regent. 1817 [28] Leopold Charles, 6th child and fourth son born. Ackermann publishes 'Characters of Trees'. 'Joshua...' receives a £100 2nd prize when exhibited at the B.I. and 'The Bard' is hung in the Great Room of the R.A. but there is little interest. 1818 [29] The Musses convince JM to move to a house more in keeping with the status of a successful artist. With £200 reluctantly borrowed from William Manning (the 'Sadak' buyer), Martin buys a first house 30 Allsop's Buildings on New Road, Marylebone at the Musses instigation. This has gardens, painting and printing rooms. 'The Bard' is moved to the B.I. and drawings of the Indian style 'Sezincot House' in the Cotswolds, at the R.A. There follows a commission for 10 etchings (only copies now in the British Museum) of the house. A sketchbook from this time is currently in the Ashmolean Museum. Worry over debt is compounded when brother Jonathan is committed to an asylum for life when he threatens to shoot the Bishop of Oxford. Now has a literary acquaintance in John Hunt, co-editor with his brother Leigh of 'The Examiner', a fellow radical. They now meet to play chess with their wives regularly at the new house. They are joined by art dealer J. Belisarco, radical journalist Albany Fonblanque and Northumbrian Dr. Thomas Alcock. These parties continue to grow in size and attended by many distinguished contemporaries. Networking continues when JM joins several dining clubs with further renown associates. 1819 [30] The only completed work is 'The Fall of Babylon', a large painting which is sent to the B.I. There is critical acclaim and it proves a popular attraction with the public. Bought by Henry P. Hope for 400 guineas. This allows debt and interest to be cleared with Manning. 1820 [31] Charles, a 5th surviving child is born. Again, only one oil, 'Macbeth', is seen. This is closely researched even down to the tartans worn by the subjects. It is exhibited but not sold at the B.I. Also sent are two large sepia drawings 'Views of a Design for a National Monument to Commemorate the Battle of Waterloo, adapted to the North End of Portland Place'. These are the first architectural based attempts by JM to improve the Metropolis. He is still upset by the R.A. but, unknowingly, he is proposed for a vacant membership. However, he receives no votes. Work is underway on the great 'Belshazzar's Feast'
1821 [32] Earlier, JM had argued with his American artist friend Washington Allston over their individual concepts of the format for a 'Belshazzar's Feast'. Allston is never to satisfactorily complete his own version during his life. In February, JM's is hung at the B.I. It is architecturally vast and a full prospectus is produced with an outline etching of the details. Reviews are mixed but the B.I. awards a 200 guineas 1st premium. The exhibition run is extended a further 3 weeks. The work is acquired by, ex-employer William Collins an re-exhibited at his Strand premises with another accompanying pamphlet. This successful work is to be reproduced by JM at least twice along with large mezzotints in 1826 and 1832. An oil-painting, 'The Revenge' is also shown at the R.A. He is now proposed by Sir Thomas Lawrence as "...the most popular painter of the day" in an artist's dinner toast. This is alleged to have caused his aversion to public speaking as he was overwhelmed and unable to respond. An argument also ensues with his friend C.R. Leslie following John's disregard for the National Anthem reflecting his radical views. JM apologises. Leslie is elected to the R.A. and JM grows to resent this. 1822 [33] A pupil, John St. John Long, is reluctantly taken. Long has some success before he becomes a Harley Street tuberculosis 'Consultant'. He is convicted of killing one patient before dying of consumption himself. Long's manservant, Richard O'Connor, however stays faithfully with Martin until his death in 1854. A commission from the Duke of Buckingham (who had failed to be able to purchase Belshazzar) is for 'The Destruction of Pompeii and Herculaneum'. This is exhibited at a one man show at the Egyptian Halls, Piccadilly a private gallery along with 25 other works and an accompanying 32 page catalogue. This major work involved much research of available documentation which JM refused to repeat in future as this was stifling his style. There was little interest in the work which was not issued as a print. The painting was sadly lost in the cellar flood of the Tate in 1928. There was a smaller watercolour version later in a collection at Tabley House, Knutsford. Also included is a 'Diogenes Visited by Alexander' a smaller sepia version being in the Ashmolean Museum Collection in Oxford. Work is concentrating now on Mezzotinting and continues for the next 15 years with one or more large paintings each year. In Newcastle, the first exhibition of the Northumberland Institution shows 'Macbeth'. 1823 [34] 'Adam and Eve Entertaining the Angel Raphæl' (from Paradise Lost) is at the B.I. and 'The Paphian Bower' at the R.A. ... again relegated to the Ante-room. Both accrue some initial critical scorn. The 'Bower's' "giantesses" are, however, later approved by following exhibition by Scot's critics. Designs are supplied for other engravers. Three drawings are made and two engraved as 'Delineations of Fonthill and its Abbey' and 'A Distant View of the Abbey' a currently popular subject. A further drawing is 'Scene in Italy Near the Tiber' although JM is never to travel beyond England and Wales? William Bewick provides us with a description of Martin's youthful personal appearance and demeanour whilst he accompanying him to a Rubens Exhibition ... "he was of about middle size, fair, extremely good-looking and pleasing in his expression; there was nothing remarkable or eccentric in his appearance; he was smart and trim, well dressed and gentlemanly, and when seen out of doors he seemed to delight in a light primrose-coloured vest with bright metal buttons, a blue coat set off in the same, his hair carefully curled and shining with Macassar oil. He was prepossessing, with a great flow of conversation and argument. He was also imaginative, and kept to his points with a tenacity not hastily subdued." An embarrassing feature was ... "a curious habit of sneezing twice or rather snorting with his nose, when conversing, and this would increase in loudness and frequency as he warmed to his argument." JM subscribes to a breakaway group from the Royal Academy resulting from his 'Ante-room' snubs but he never becomes a member of the 'Society of British Artists (S.B.A.)' who would not submit work to the R.A. on principle. They acquire a gallery in Suffolk Street, Pall Mall, the following year. 1824 [35] Charles Muss dies and JM agrees to finish some of his glass painting commissions for the benefit of his widow. Financial chaos looms when he looses £1600 savings as the Marsh, Sibbald and Co. bank collapses. This was the result of fraud perpetrated by a bank partner Henry Fauntleroy. (He was the last forger to be hung in England before a crowd of 100,000.) JM's finances recover within the year. The 'Seventh Plagues of Egypt' is the main attraction at the opening of the Pall Mall gallery and sells for 500 guineas. There are two water colours 'The Departure of the Israelites from Egypt' and 'Alexander Visiting Diogenes'. The engravings room shows the first published mezzotint 'Temptation in the Wilderness' and four other items. 'Syrinx' is also shown at the B.I. and both 'Landscape Composition' and 'Design for the Seventh Plague' at the R.A. (yes ... again in the ante room causing JM to present nothing further to the R.A. for another 13 years) 1825 [36] Birth of a 3rd daughter Jessie is the last of the Martin's six surviving children. Mrs Martin, considerably older than John, is believed to be ill from now. One painting 'The Creation' is sent to the S.B.A. but 20 mezzotints from 'Paradise Lost' are also shown. 'The Creation' is criticised for the out of proportion sizes of the humans. The painting is now lost only a 'Paradise Lost' mezzotint illustration of it survives. 1826 [37] Two small mezzotints are published in 'The Amulet', a German style of 'annual'. These annual series become popular for their engravings by the best artists and engravers such as Henry Le Keux whose 1929 engraving of Martin's 'Marcus Curtius' was to sell over 10,000 individual prints. In the next 11 years Martin produces 27 profitable designs for such annuals. There are eight oil paintings for exhibition (six are smaller 'Studies From Nature'). The main work, shown at the Institution, is major, 'The Deluge' with a four page accompanying pamphlet. This portrays crazed people attempting to escape drowning when the earth's valleys overwhelmingly flood resulting from a conjunction of the Sun, Moon and a Comet. This scenario echoes lines from Lord Byron's work 'Heaven and Earth'. Martin notes that the scale shows a 15,000ft mountain and a centre perpendicular rock of 4,000ft. It is unsold but later reworked for other exhibitions including the 'Louvre' in 1835 and the R.A. in 1837! Peter Cunningham, (Martin's son-in-law), claimed that this was modelled by Martin having a quantity of large coals dumped on the studio floor which he then attacked with a pick-axe to ensure a correct lay of the rocks for the work. The painting was to be sold in 1861 for 150 guineas, 1923 for £6 and 1928 for £2 10s! A first of 15 large engravings of Martin's principal works 'Belshazzar's Feast' is finally published. The delay is the result of Septimus Prowett's commission for the production of 48 plates, started in 1923 using Thomas Lupton's steel plate mezzotint process, for Milton's 'Paradise Lost'. 1827 [38] Mezzotints 'Joshua Commanding the Sun to Stand Still' and 'Belshazzar's Feast' shown at the S.B.A. Martin's Engineering 'Plans' for the improvement of London's stinking and Cholera prone water supplies commence and continue for another 20 years occupying some two thirds of his time (and near financial ruin in 10 years). Similar schemes were eventually successfully undertaken by Joseph Bazalgette. Martin's first pamphlet 'Plan for the Supplying the Cities of London and Westminster with Pure Water from the River Colne' is published. 1828 [39] The 'Fall of Nineveh' is privately exhibited at the Western Exchange, Old Bond Street from 12th May until September. Visitors include Sir Walter Scott, Earl Grey, Sir Thomas Lawrence and B.R. Haydon. Being unsold, this is then toured to major UK cities. A 'The Deluge' mezzotint is published. 1829 [40] Thomas Lupton publishes a mezzotint of the 1820 'Macbeth'. On 2nd February Jonathan, John's brother, sets fire to York Minster. Confusion between the brothers then gains John the sobriquet of 'Mad Martin'. Trial expenses are covered by John. Insane verdict is returned and Jonathan spends remaining life in Bedlam. Jonathan's son Richard is adopted into John's family. 1830 [41] A mezzotint of 'The Fall of Nineveh' is published
1831 [42] 'Macbeth' (1820) is repainted and is seen in Martin's studios by the author Sir Walter Scott. Scott also used JM's 'native vale' gorge 'Staward Peel' setting in a novel. Watercolours 'Marcus Curtius' and 'Queen Esther' exhibited at S.B.A. Work commences on 'Illustrations of the Bible'. The first section appears in March and continues in parts until May 1835. 'The Fall of Babylon' is published as a mezzotint. Prince Leopold becomes King of the Belgians. 1832 [43] 28th March an exhibition of 'Enamel Colours on Glass' opens at Collins' at 357 The Strand. Included are 'Belshazzar's Feast' and 'Joshua' painted by Hoadley and Oldfield probably undertaken under Martin's supervision. Martin probably becomes associated with Serjeant-at-Law and collector Ralph Thomas whose diaries related many of the personal details known of Martin. 1833 [44] JM elected to the prestigious 'Athenæum Club' as a person of distinguished eminence. Appearance of a 'Dioramic Effect' plagiarised version of 'Belshazzar's Feast' causes JM to request an injunction to prohibit its display and the ruining of his reputation. 'Leila' and 'Alpheus and Arethusa' exhibited at the B.I. Hanging problems allegedly cause a bad reception and Martin threatens to relocate to the 'National Gallery of Practical Science'. 'The Fall of Nineveh' on show in Brussels. Awarded Gold Medal and receives Knighthood of the Order of Leopold (K.L.). European acclaim leads to membership of the Brussels and Antwerp Academies. John Constable (R.A.) is supportive of the surly J.M. over R.A. issues and compares himself to JM who he holds in the ' ... highest eloquence' 1834 [45] Another Gold Medal when 'The Deluge' is shown at the 'Louvre'. 'The Crucifixion' appears as a mezzotint. In August visits Gideon Mantell at the geologist's home to see an Iguanodon. 1835 [46] JM gives expert witness evidence to Select Committee on Arts regarding the lack of correct design in the China Trade and copyright. J.M's 'Plans for the Ventilation of Mines' was issued to Select Committee on Mine Safety. This would be more effective than use of the 'Davy Lamp'. It incorporated ideas raised by brother William earlier. At the B.I. is 'David Spareth Saul at Hachilah' and 'Judith Attiring' plus four watercolours. The Westall-Martin 'Illustrations of the Bible' includes 48 out of 96 illustrations by Martin. The 'Society for the Diffusion of Christian Knowledge' commissions four New Testament mezzotints. 1836 [47] Meets Charles Dickens and his new wife at George Cruikshank's. Criticises the R.A.'s methods of hanging and retouching restrictions to the Select Committee on Arts and is supported by B.R. Haydon the R.A.'s most virulent antagonist. These committees, apparently, occupy most of his time. Cheap French imported prints of his work defy copyright and more money is being lost. He recommends that copyright should remain throughout the life of the artist and with his descendants as long as they own the work. J. M. W. Turner supports this. Four watercolour landscapes are exhibited at the SBA. 'Illustrations of the New Testament', again Westall-Martin, issued with 48 engravings, 24 from J.M.'s drawings. 1837 [48] Financial crisis climaxes. Depression looms as Martin cannot come to terms with the failure of his 'friends' who have taken advantage of his altruism. The expense of his 'Plans' is devastating. However, some 11 watercolours are exhibited at the New Watercolour Society. A repainted 'The Deluge' from 11 years previous is at the Academy. In July, his 12th large engraving 'Marcus Curtius' is published. Brother Richard dies in debt to J.M. near the year end. 1838 [49] Mrs. Martin tells Serjeant Thomas of her fears of Martin's despair under these circumstances. Martin is, however, working again with, in April, the Academy receiving two large canvases 'The Death of Moses' and 'The Death of Jacob'. The Liverpool Academy also has four works it occasionally shows until 1853. The S.B.A. has watercolours including 'Manfred on the Jungfrau' and 'Manfred and the Witch of the Alps'. Brother Jonathan dies in Bedlam 26th May. The family is further stunned by the suicide of Jonathan's son Richard who has lived with them for nine years. He has cut his own throat with a razor on 5th August. The Coronation of Queen Victoria is on 28th June. J.M., assisted by son Charles, paints the event and asks many of the distinguished attendees to sit for him at his studio. This provides several leads for sales. Martin's situation begins to improve towards the end of the year. He and Leopold also visit Turner who is working on his 'The Fighting Temeraire'. 1839 [50] J.M. now working 'indefatigably' with six watercolours at the R.A. 'The Coronation of Queen Victoria' is forwarded to Buckingham Palace for inspection. It is not bought until four years later. It becomes popular as it showed the moment when the Queen goes to assist Lord Rolle who has fallen on the steps. Later, Prince Albert visits the Studio and after inspecting 'The Deluge', suggests a series of large paintings on this subject. 'The Eve of the Deluge' and 'The Assuagement of the Waters' are ready for the R.A. 1840. 'The Eve ...' remains in the Royal collection at Kensington Palace. 1840 [51] Geologist Thomas Hawkins' 'The Book of Sea Dragons' features a J.M. frontispiece. At the B.I. are 'Scenes in Bradgate(?) Park' watercolours. Again J.M. exhibits monomania over sewerage systems with his friend Thomas.
1841 [52] Blackie and Son publish the first part of their 'Imperial Bible' featuring nine J.M. subjects. 36 parts completed in 1844. The census shows 30 Allsop Terrace has all six children still living there with Mr. and Mrs. J.M. and a servant Ellen MacCarthy. The S.B.A. has watercolours of 'Scarborough' and 'Flamborough Head'. The R.A. catalogue has the nostalgic watercolour 'Valley of the Tyne, my Native Country, near Henshaw'. The B.I. has 'The Eve of the Deluge' from the R.A. and 'The Fall of Nineveh'. New oils at the R.A. are 'Pandemonium' and 'The Celestial City and River of Bliss' The engineer I. K. Brunel runs a high speed test, allegedly at J.M.'s instigation, to disprove G. Stephenson's assertion that steam engines would not run faster than 15 mph. They manage a 90 MPH average on the 9 mile run with Martin, Leopold and Electrical Engineer Wheatstone also on the footplate! 1842 [53] 'Flight into Egypt' is exhibited at the R.A. and 'Curfew Time' (from Gray's 'Elegy') at the B.I. A last mezzotint with etching of 'The Eve of the Deluge' is published by James Gilbert in Sheffield. Perhaps his eyesight is failing for such work. He secures son Alfred a government job in taxes. Daughter Zenobia marries Peter Cunningham. 1843 [54] C.R. Leslie publishes his 'Memoirs of Constable' in which he includes damaging previous letters describing Martin's work as 'pantomime'. J.M. and Haydon attempt to produce work for the prestigious Exhibition of Cartoons competition to artistically refurbish the Houses of Parliament. This is a new style for J.M. The result is a life size 'The Trial of Canute' and 'Two Heads'. They are not successful and lead to further denigrating criticism from John Ruskin. At the Institution is 'Goldsmith's Hermit' (A.K.A. 'The Pilgrim and the Hermit in Conversation'). At the R.A. are four watercolour landscapes and two historical pictures 'Christ Stilleth the Tempest' (now in York City Art Gallery) and 'Canute Rebuking his Courtiers' (now in the Laing, Newcastle). Martin's financial position is now much improved after six harrowing years. His family responsibilities were improved with Leopold and Alfred as Civil Servants, Charles at 23 is a successful social climbing portrait artist in his own right. Daughter Zenobia is married and Jessie is marrying Joseph Bonomi an Egyptologist. Isabella remains his PA at home. 1844 [55] More 'history genre' oils are ready for the R.A. 'Morning in Paradise' and 'Evening in Paradise'. The 'Times' critic appreciates these. They move to the B.I. next year to derision from the novelist William Thackeray. Poet Thomas Hawking's epic saga 'The Wars of Jehovah' features eleven plates by Alfred Martin from his father's designs. 1845 [56] The Academy has oils 'The Judgement of Adam and Eve', 'The Fall of Man' and a watercolour landscape 'View on the River Wye'. Thomas' diary notes that Martin's mood is now ebullient. Thomas disappears from the scene. The B.I. has 'Morning ...' and 'Evening in Paradise'. 1846 [57] In June Benjamin Robert Haydon dies his friend and ally against the Academicians. The R.A. has oil 'Solitude' and five landscapes. The Metropolitan Sewage Manure Company receives its Act of Parliament. This leads Martin into more problems. 1847 [58] There are only two watercolour landscapes at the Academy. 1848 [59] Four of John's stained glass windows are sold at Christies on 6th June (now lost). He resigns Directorship of the Metropolitan Sewage Manure Company un-rewarded and is in further financial difficulty. His studio has only one oil-painting available. The Martin's move house from Allsop Terrace to a small section of 'Lindsey House', now 98 Cheyne Walk. Martin has his studio on the 1st floor. Turner is living 100 yards to the West. 1849 [60] The move does not affect Martin's work. Summers appear to be spent on the Isle of Man. The B.I. has a second version of 'Joshua Commanding the Sun to Stand Still over Gibeon'. The R.A. has 'Arthur and Aegle in the Happy Valley' from Lord Lytton's epic novel 'King Arthur' of the previous year. 'Arthur and Aegle ...' features a starlight sky astronomically correct remembered by JM from some 20 years previous. Lord Lytton Bulwer however, did not buy the offering even at a reduced price. He publishes more pamphlets one a revised and enlarged edition of the 2nd and 3rd Divisions of his 'Thames and Metropolis Improvement Plan' and the other a four page revision of 'The Plan for Ventilating Coal Mines'. Brother William, had been frequenting the streets of Newcastle upon Tyne proclaiming himself 'The Philosophical Conqueror of all Nations' and 'Anti-Newtonian' Natural Philosopher (Physicist) whilst wearing a brass-mounted tortoise shell for a hat and a saucer sized medal. He moves in with JM and their engineering deliberations are renewed. William also undertakes some engraving. All five of JM's siblings had come to London before their deaths. 1850 [61] The R.A. has 'The Last Man', which fails to sell, along with two landscape watercolours. He also painted a fresco on his garden wall (which lasted until his neighbour's manure heap percolated through to it after 1889). J.M. publishes his last pamphlet 'Outline of a Comprehensive Plan for Diverting Sewage ...' 1851 [61] J.M.W. Turner dies. Brother William dies 9th February age 79. The R.A. has two oils and two watercolour landscapes. The B.I. has 'The Forest of Arden' (from 'As You Like It), 'Moses Viewing the Promised Land from Mount Nebo' and 'Arthur and Aegle ...'. Work starts on the 'Last Judgement' 1852 [62] Three works are at the Academy 'Richmond Park', 'Scene in the Forest' (aka 'Twilight in the Woodlands') and 'The Destruction of Sodom and Gomorrah' (now in the Laing) and one of two (the 2nd is smaller). These are the last of Martin's works to be publicly exhibited during his life. Martin complains to Prince Albert that his designs for a Goodwin Sands lighthouse and fire-proof ship have been purloined by the Trinity Board. Work underway on two more Judgement paintings the turbulent 'The Great Day of His Wrath' and serene 'The Plains of Heaven'. Contracts are in place with Thomas Maclean for exhibition, engraving and publication. 1853 [63] Work on the Judgement paintings is continuous. Leaves Lindsey House in the Autumn for the last time to visit brother-in-law Thomas Wilson at 4 Finch Road, Douglas Isle of Man. 12th November suffers stroke and paralysis whilst working on a 'Meeting of Jacob and Esau'. On 26th December, his last will is signed with cross. He is starving himself to death. 1854 [64] John Martin dies there 06:30 17th February. Buried in Kirk Braddan Cemetery in the Spittall family vault, Douglas 24th February.