province was strengthened by his being instituted to the vicarage of Sutton-in-the-Forest. Through the influential and zealous support of his old Oxford friend, Cyril Jackson—a support which outweighed the opposition of many who desired an older man—Carey was appointed to the head-mastership of Westminster School in January 1803, and discharged its duties with great efficiency until his retirement in December 1814. He proceeded to the degree of B.D. in 1804, and to that of D.D. in 1807. The honourable post of sub-almoner to the king was given to him in 1808, and in March 1809 he received a piece of preferment equally honourable and more lucrative, a prebend at Westminster. On resigning his position at his old school he withdrew to his country living, residing there until 1820, when he was called to preside over the diocese of Exeter. His consecration took place on 12 Nov. 1820, and on the previous day he was installed a prebendary of his cathedral. The administration of the diocese by the former occupant of the see had not been marked by an excess of zeal, and the energy with which Carey threw himself into his new labours was much praised. At Exeter he remained for ten years, when he was translated to the wealthier bishopric of St. Asaph, being elected to his new see on 12 March 1830 and confirmed on 7 April. He died at his house in Portland Place, London, on 13 Sept. 1846, but his body was carried into Wales and buried in the churchyard of St. Asaph Cathedral on 2 Oct. 1846. A monument to his memory was erected in his cathedral.
Carey was the author of three sermons long since forgotten, but his name is preserved in his munificent benefaction of 20,000l. Consols for the better maintenance of such bachelor students of Christ Church, duly elected from Westminster School, as, 'having their own way to make in the world,' shall attend the divinity lectures and prepare themselves for holy orders. A second gift to his old school was of a different character. This was a new set of scenery for the Westminster play modelled on the lines of its predecessor, which had been designed by Athenian Stuart. Carey's scenery was in use for fifty years, from 1808 to 1858.
[Welch's Westminster School (Phillimore's ed.), pp. 418, 428, 456, 636; Forshall's Westminster School, pp. 125, 301-3. 470; Oliver's Bishops of Exeter, pp. 166-7; Career of Admiral John Markham, p. 14; Gent. Mag. 1846, pt. ii. pp. 533-4, 661; Notes and Queries, 3rd ser. vii. 205 (1865).]
CAREY, WILLIAM PAULET (1759–1839), art critic, brother of John and Mathew Carey [q. v.], was born in Ireland in 1759. He began life as a painter and afterwards became an engraver. He did the copperplates in Geoffrey Gambado's (H. Bunbury's) 'Annals of Horsemanship,' Dublin, 1792, and several plates in a collection of ethical maxims published by E. Grattan in Dublin. He discontinued the practice of his profession owing to an accident to his eyes, but he retained a great love for the arts. For more than fifty years his pen was employed in advocating the claims of modern and national art, most of his writings being distributed gratuitously. He was one of the first to recognise the genius of Chantrey, the sculptor, in the 'Sheffield Iris' in 1805. He was proud of having brought James Montgomery, the poet, into prominence, and in later years he wrote letters in the Cork and Dublin papers which had the effect of attracting attention to the work of Hogan, the sculptor. He is said to have been a United Irishman. In 1806 he wrote a pamphlet in defence of the Princess of Wales; in 1820 he published two other pamphlets, 'The Conspiracies of 1806 and 1813 against the Princess of Wales linked with the atrocious conspiracies of 1820 against the Queen of England,' and 'The Present Plot showed by the Past,' &c. On the cover of the latter he advertised a work in two volumes on the same subject. He was a dealer in pictures, prints, and other works of art, and was one of the principal persons consulted by Sir J. F. Leicester, afterwards Lord De Tabley, in the formation of his gallery. For several years he had an establishment in Marylebone Street, London. In the exercise or his calling he visited many towns, and finally settled in Birmingham about 1834. In that year he contributed to the 'Analyst,' a quarterly journal issued in that town. He died at Birmingham 21 May 1839, aged 80.
The list of his separate writings on art is as follows:
- 'Thoughts on the best mode of checking the Prejudices against British Works of Art,' York, 1801, 8vo.
- 'A Critical Description of the Procession of Chaucer's Pilgrims to Canterbury,' painted by Stothard, Lond. 1808, 8vo; second edition 1818.
- 'Letter to J. A. (Colonel Anderdon), a Connoisseur in London,' Manchester, 1809, 12mo.
- 'Cursory Thoughts on the Present State of the Fine Arts,' Liverpool, 1810, 12mo.
- 'Recommendation of the Stained Glass Window of the Transfiguration for St. James's Church, Westminster,' 1815.
- 'Memoirs of Bartolozzi,' in the 'European Magazine,' vols. lxvii. and lxviii. 1815. This ran through six numbers, but was not finished.
- 'Criti-
