and was imprisoned in Belvoir Castle. He cleared himself with Charles, and took up his residence at Oxford. On 29 Jan. 1644–5 he was created Baron Rockingham of Rockingham. After the surrender of Oxford he compounded for his delinquency for 5,000l. (Cal. of Proc. of Committee for Compounding, pp. 1435–7). He died on 5 Jan. 1652–3, and was buried in Rockingham church. Rockingham was twice married: first, in 1609, to Catherine, daughter of Peregrine Bertie, lord Willoughby de Eresby [q. v.] She died in childbed on 15 Feb. 1610. He married, secondly, on 3 Oct. 1620, Eleanor, daughter of Sir George Manners of Haddon Hall, Derbyshire. She died on 23 Oct. 1679, and was buried at Rockingham on 9 Nov. By her he had one surviving son, Edward, second baron Rockingham, and six daughters. The second baron's third son, Thomas, was grandfather of Charles Watson-Wentworth, second marquis of Rockingham [q. v.]
[Wise's Rockingham Castle and the Watsons, 1891; G. E. C[okayne]'s Peerage.]
WATSON, MUSGRAVE LEWTHWAITE (1804–1847), sculptor, was born at Hawksdale Hall in the valley of the Caldew, near Carlisle, on 24 Jan. 1804. His father, Thomas Watson, a small native landowner in the same valley, made money in the West Indies, and on his marriage, 6 April 1795, with Mary, daughter of Musgrave Lewthwaite of Carlisle, settled at Hawksdale as a farmer. Musgrave was their second son. He was educated at the school of the neighbouring village of Roughton Head. While at school he carved wood and engraved on metal, making, it is said, his own tools. He developed a keen desire to follow art as a profession. But his parents insisted on articling him in 1821 to Major Mounsey, a solicitor of Carlisle. Fortunately his master, who had the only good collection of pictures in Carlisle, gave him every encouragement to study art. His illustrations to a poem by a local writer, Robert Anderson [q. v.], brought him into notice, and he quickly attained considerable skill as a draughtsman. On the death of his father on 28 Dec. 1823 he adopted the profession of a sculptor, and went to London. There he made the acquaintance of Flaxman, who recommended him to enter the schools of the Royal Academy. He sent in a small model of an Italian shepherdess and was immediately admitted. He was for a short time articled to Robert William Sievier [q. v.], but, on the advice of Flaxman, he went abroad to study in Italy. There he lived among the French and German students in Rome. His versatile talent—he was able to etch, carve, design for cameos, or produce watercolour drawings—easily enabled him to meet his very slight expenses. He afterwards visited Naples and Pompeii, returning to London in 1828. He revisited Carlisle, where he executed a bust of the naturalist John Heysham [q. v.], shown at the Carlisle Exhibition in 1828, and he was also represented there by three sketches in watercolour and oil of scenes from Anderson's ‘Cumberland Ballads,’ a bust of Major Hodgson, and a twelve-inch figure of Clytie in marble, a commission from his friend G. G. Mounsey. He settled down in London, and for a time had a small studio near the British Museum, where he produced some highly poetical works.
About 1833 (Sir) Francis Legatt Chantrey [q. v.] engaged him as a modeller, but quickly parted with him rather than comply with his request for an increase of salary. He afterwards worked for Behnes and Bailey. In 1844 he exhibited at the Royal Academy a small but exceedingly clever bas-relief of ‘Death and Sleep bearing off the Body of Sarpedon,’ which was engraved by Alfred Robert Freebairn by the anaglyptic process. Only a few copies were executed, and those were presented to friends. A copy of this work in plaster was in the International Exhibition of 1862. One of his most charming and poetic works is the bas-relief in marble, ‘Literature,’ exhibited at the Royal Academy in 1845; it forms part of the monument to his old friend Allan Cunningham. At length, through the good offices of Allan Cunningham, he obtained the commission from Lord Eldon for a colossal group of the brothers Lord Eldon and Lord Stowell. After much careful study he had completed the models, and was busily engaged on the marble, when fatal illness attacked him, and it was only after his death that it was completed by his assistant and friend, George Nelson. This group is in the library of University College, Oxford. It is a noble monument, and along with his equally successful seated figure of Flaxman, which was begun in 1845 and was also completed by Nelson, received from the commissioners of the Great Exhibition of 1851 a prize medal. The Flaxman portrait was placed on the staircase leading to the Flaxman gallery of University College, London. In 1847 Watson exhibited for the last time at the Royal Academy. It was a model for a bas-relief 7 ft. 9 in. by 3 ft., a fine design containing eleven figures, and representing Dr. Archibald Cameron tending the wounded on the field of Culloden. This monument was carved in Caen stone, and was erected in the
