matriculated on 4 June 1859 at University College, Oxford, and held a scholarship there (1859-64). He took a first class in classical and a second in mathematical moderations in 1861, and a second in lit. hum., and a third in mathematical finals in 1863, graduating B.A. in 1863; M.A. in 1867; B.D. and D.D. in 1891. He also won the Denyer and Johnson theological scholarship on its first award in 1866. Ordained deacon in 1864, and priest in 1865, he became curate of St. Jude, Mildmay Park, under William Pennefather [q. v.]. In 1865, on the recommendation of Canon A. M. W. Christopher of Oxford, he began his long service to the theological college, St. John's Hall, Highbury, as tutor under Dr. T. P. Boultbee [q. v.]. He served in addition as reader or curate on Sundays at Christ Church, Down Street (1865-9), and at Curzon Chapel, Mayfair, in 1869, under A. W. Thorold [q. v.]; and was minister of St. John's Chapel, Hampstead (1870-4). He became McNeile professor of biblical exegesis at St. John's Hall in 1882, and principal from 1884, on Boultbee's death, till his retirement on a pension in 1898. Of some 700 of his pupils at St. John's Hall, the majority entered the ministry of the Church of England.
A pronounced evangelical, he acted as examining chaplain to Bishop J. C. Ryle [q. v.]. At Oxford he had come under the influence of John William Burgon [q. v. Suppl. I], and through life his main interest lay in the conservative study and interpretation of the Scriptures, on which he wrote much. He died on 9 May 1910 at Little Coxwell, Faringdon, Berkshire, and was buried there. He married, at Heckington, Lincolnshire, on 22 July 1865, Anna Maria, daughter of the Rev. James Stubbs, by whom he left four sons (three in holy orders) and three daughters (one a C.M.S. missionary at Sigra, Benares).
Waller's published works include: 1. 'The Names on the Gates of Pearl, and other Studies,' 1875; 3rd edit. 1904. 2. ’A Grammar and Analytical Vocabulary of the Words in the Greek Testament,' 2 parts, 1877-8. 3. 'Deuteronomy' and 'Joshua' in Ellicott's 'Commentary,' 1882. 4. 'The Authoritative Inspiration of Holy Scripture, as distinct from the Inspiration of its Human Authors,' 1887. 5. 'A Handbook to the Epistles of St. Paul,' 1887. 6. 'Apostolical Succession tested by Holy Scripture,' 1895. 7. 'The Word of God and the Testimony of Jesus Christ,' 1903. 8. 'Moses and the Prophets, a Plea for the Authority of Moses in Holy Scripture,' 1907; a reply to the Rev. Canon Driver.
[Foster's Alumni Oxon.; Crockford, 1910; The Times,11 May 1910; Record,13 May 1910; Johnian (St. John's College, Highbury), Sept. 1910; private information.]
WALLER, SAMUEL EDMUND (1850–1903), painter of genre pictures, born at the Spa, Gloucester, on 18 June 1850, was son of Frederick Sandham Waller by his wife Anne Elizabeth Hitch. The father, an architect practising in Gloucester, ably restored considerable portions of Gloucester Cathedral in perfect harmony with the original design. Young Waller was educated at Cheltenham College with a view to the army, but showing artistic inclinations was sent to the Gloucester School of Art, and went through a course of architectural studies in his father's office. The training proved of service to him, for many of his pictures have architectural backgrounds. At eighteen he entered the Royal Academy Schools, and three years later (1871) he exhibited his first pictures at Burlington House entitled 'A Winter's Tale' and 'The Illustrious Stranger.' In 1872 he went to Ireland, and published an illustrated account of his travels entitled 'Six Weeks in the Saddle.' In 1873 he joined the staff of the 'Graphic' Next year he appeared at the Royal Academy with a work called 'Soldiers of Fortune,' and henceforward was a steady exhibitor there until 1902. His chief and best-known pictures were 'Jealous' (1875), now in National Gallery, Melbourne; 'The Way of the World' (1876); 'Home?' (1877), now in National Gallery, Sydney; 'The Empty Saddle' (1879), with an architectural setting taken from Burford Priory, Oxfordshire; 'Success!' (1881) and 'Sweethearts and Wives' (1882), both in the Tate Gallery. Later works are 'The Day of Reckoning' (1883), 'Peril' (1886), 'The Morning of Agincourt' (1888), 'In his Father's Footsteps' (1889), 'Dawn' (1890), 'One-and-Twenty' (1891), 'The Ruined Sanctuary' (1892), 'Alone!' (1896), 'Safe' (1898), 'My Hero' (1902).
Old English country life strongly attracted his imagination, and furnished him with the romantic incidents which formed the subjects of his most notable pictures, and their backgrounds were frequently taken from Elizabethan houses in his native county or elsewhere in England. Many of his pictures are well known by reproductions and engravings throughout the English-speaking world. The originals
