Keppel's book about his cruise (1853). He was
again with Keppel during the Crimean War, and published in 1855 a series of
lithographs illustrating "The English and French fleets in the Baltic." He
was now taken up by Queen Victoria and other members of the royal family,
and was attached to the suites of the duke of Edinburgh and the prince of
Wales on their tours by sea, the results being seen in further marine
pictures by him; and in 1874 he was made marine-painter to the queen. He
exhibited at the Academy, but more largely at the Royal Water-colour
Society, his more important works including the historical pictures, "The
Retreat of the Spanish Armada" (1871) and "The Loss of the Revenge" (1877).
In 1885 he was knighted, and he died on the 14th of December 1894. He was
twice married and had an active and prosperous life, but was no great
artist; his best pictures are at Melbourne and Sydney.

BRIEUX, EUGENE (1858- ), French dramatist, was born in Paris of poor
parents on the 19th of January 1858. A one-act play, _Bernard Palissy_,
written in collaboration with M. Gaston Salandri, was produced in 1879, but
he had to wait eleven years before he obtained another hearing, his _Menage
d' artistes_ being produced by Antoine at the Theatre Libre in 1890. His
plays are essentially didactic, being aimed at some weakness or iniquity of
the social system. _Blanchette_ (1892) pointed out the evil results of
education of girls of the working classes; _M. de Reboval_ (1892) was
directed against pharisaism; _L'Engrenage_ (1894) against corruption in
politics; _Les Bienssaiteurs_ (1896) against the frivolity of fashionable
charity; and _L'Evasion_ (1896) satirized an indicriminate belief in the
doctrine of heredity. _Les Trois Filles de M. Dupont_ (1897) is a powerful,
somewhat brutal, study of the miseries imposed on poor middle-class girls
by the French [v.04 p.0563] system of dowry; _Le Resultat des courses_
(1898) shows the evil results of betting among the Parisian workmen; _La
Robe rouge_ (1900) was directed against the injustices of the law; _Les
Remplacantes_ (1901) against the practice of putting children out to nurse.
_Les Avaries_ (1901), forbidden by the censor, on account of its medical
details, was read privately by the author at the Theatre Antoine; and
_Petite amie_ (1902) describes the life of a Parisian shop-girl. Later
plays are _La Couvee_ (1903, acted privately at Rouen in 1893), _Maternite_
(1904), _La Deserteuse_